Review Summary: Dizzying, disjointed album that brings a decent amount of joy.
Speaking of being the most influential band in all of metal, this is where the many bands they had influenced (in rock at least) started to influence them. Talk about turning the tables! Ozzy noticed this too, and the times were changing quite fast in the vast landscape of rock music. Punk was emerging and making its way to the mainstream thanks to bands such as the Ramones and Sex Pistols, and bands such as The Eagles, Fleetwood Mac, Queen, and Foreigner were making big names for themselves.
Perhaps what pushed the band to drop the doomy sound associated with them for six albums now was the changing landscape in music, and being unsure of where to go, and how to stay relevant. They were seen as has-beens much like their other contemporaries, Led Zeppelin who were also struggling with fitting in the music scene. This lack of direction shows heavily on this album, and it shows the unity and bond between each band member that made them into a singular solid unit was starting to crack at the seams.
Technical Ecstasy is disjointed, dizzying, and filled to the brim with attempts to soften their sound for radio play. This would be a massive whiplash to their fanbase who were used to their complex yet memorable arrangements and vast variety of different styles incorporated into metal on their previous three albums. Does it work is the question?
The answer to that is...kind of. The album isn't necessarily a spark of greatness, but it does have its memorable moments despite lacking cohesiveness.
"Back Street Kids" is a pretty good opener on this one, with a pounding riff and bassline, and elements of that jazzy drumming goodness we've come to love, though the interlude incorporates synthesizer and keyboard in a fashion Pop Rock was big on. Ozzy's vocal mixing is terrible, but the song is quite great despite that and one of the few times on this one where the softer sound works.
"You Won't Change Me" follows with a more slightly doomy feel to it, however, the organ sound emulated by the synthesizer really drills this home and has some impressive playing that goes well with the jazzier drum playing by Ward. The lyrics are quite deep as well with an existential crisis and hopelessness.
"All Moving Parts (Stand Still)" drives along a funk-infused bassline with controversial lyrics about a transgender who is elected president, but the solo is absolutely excellent and the bridge has an insane switch-up that keeps things interesting! Lastly,
"Dirty Women" is a simple hard rocker about hookers on the surface, but really upon closer listening one hears some great guitar layering that plays with the keyboards building an atmosphere similar to Rick Wright's ways, and it sounds phenomenal, easily the best on this one.
Sadly, the rest of the record falls flat with
"Rock N Roll Doctor" being an obviously made-for-AOR pop rock mess that sounds half-baked with mediocre mixing,
"It's Alright" has amazing vocals from Bill Ward but the song itself has cheesy lyrics that hold no depth to them and sound like a mere song sketch. One that probably should have been left on the cutting room floor, it's a let down really and he deserved better.
"Gypsy" is perhaps the most repetitive song they've done in the 70's and holds a basic composition that goes in one ear and out the other, and
"She's Gone" is nice for putting you to sleep at least.
This was the beginning of the end for Sabbath's first run, but it's still a
GOOD album, they still had a low-burning flare inside them even if it isn't particularly memorable and a tad messy, it's still enjoyable and plain good.
Track By Track:
1. Back Street Kids: ★★★★
2. You Won't Change Me: ★★★★★
3. It's Alright: ★★
4. Gypsy: 💣
5. All Moving Parts (Stand Still): ★★★★
6. Rock 'N' Roll Doctor: ★
7. She's Gone: ★
8. Dirty Women: ★★★★★ 🎖️
